Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Malaysia and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Houston kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the organ sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Morten Harket to the electroclash kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Eyeless In Gaza. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every The Moody Blues record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
Johnny Osbourne,
Godley & Creme,
Howard Jones,
The Knickerbockers,
Sound Behaviour,
the Sonics,
Kauko Röyhkä ja Narttu,
B.T. Express,
Second Layer,
The Last Poets,
Infiniti,
Circle Jerks,
Fort Wilson Riot,
D'Angelo,
Jandek,
Avey Tare,
Notorious BIG live in Amsterdam,
Amon Düül II,
The West Coast Pop Art Experimental Band,
Joe Finger,
Grauzone,
Cal Tjader,
Arab on Radar,
Anakelly,
Larry & the Blue Notes,
Lightning Bolt,
Electric Prunes,
Parry Music,
the Association,
Bad Manners,
Aswad,
Sonny Sharrock,
Blancmange,
Little Man,
Sällskapet,
Sarah Menescal,
Eric Dolphy,
Ronan,
Harpers Bizarre,
Erasure,
Bootsy Collins,
China Crisis,
Swell Maps,
LL Cool J,
Lou Reed,
Mr. Review,
DNA,
Todd Terry,
New Order,
Dr. Dre and Snoop Doggy Dog,
Jacques Brel,
Slave,
Japan,
Quadrant,
Monolake,
Moby Grape,
Rhythm & Sound,
These Immortal Souls,
The Jesus and Mary Chain,
Cybotron,
Marshall Jefferson,
Archie Shepp,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.